fugal's Usage Examples:

The adjectival form is fugal.

Variants include fughetta (literally, "a small fugue") and fugato (a passage in fugal style within another work that.

lists the fugal works of Johann Sebastian Bach, defined here as the fugues, fughettas, and canons, as well as other works containing fugal expositions.

During the late 17th century, a 'voluntary' was typically written in a fugal or imitative style, often with different sections.

otherwise virtuosic passages or sections, with or without imitative or fugal interludes, generally emphasizing the dexterity of the performer's fingers.

In non-fugal compositions, a stretto (also sometimes spelled stretta) is a passage, often.

They are complementary in style (slow in dotted rhythms and fast in fugal style), and the first ends with a half-cadence (i.

This song is known for its fugal treatment of a jazz figure, described by one writer as "possibly the most.

relatively slow dotted-note rhythm in duple meter is followed by a fast fugal section, then rounded off with a short recapitulation of the opening music.

interweaves three story strands into a single braid, yielding a rich, almost fugal narrative.

generally comprises four movements, typically a largo prelude followed by a fugal allegro, an expressive slow movement, and an allegro finale, although there.

They are usually either fugues or pieces written in fugal manner; all make heavy use of pedal and are idiomatic to the organ.

melody to a trio of two violins and continuo, leading to an unusual festive fugal Alleluja, in which the trumpet joins.

conservative exposition, but it ends triumphantly with nearly every possible fugal device (invertible counterpoint, stretto, double stretto, diminution, augmentation.

section; there a fugal passage was enclosed between two homophonic episodes; here a homophonic episode is preceded and followed by fugal passages.

Horns in D are used throughout, and in the fugal finale they even get to play the fugue subject a couple of times.

part of the fugal opening first heard in bar 16; if this is not a fugue it is indeed very like) and after a brief section again in fugal imitation to.