Linked from

The 24 pages that link to Fugue, each with the reason it gives.

• Baroque musicRelated: The form offered composers a rigorous way to develop interlocking melodic lines.

• CounterpointBroader topic: The fugue is a highly developed form organized around contrapuntal procedures.

• Johann Sebastian BachNarrower topic: Bach used fugue as both a self-contained form and a technique within larger works.

• Sonata formCompared with: The Baroque counter-model sonata form displaced: thematic contrast instead of counterpoint.

• Neoclassicism (music)Related: Neoclassical composers revived its disciplined, layered writing.

• String quartetBroader topic: Some quartet finales make each instrument enter with the same subject.

• Canon (music)Compared with: A fugue begins with imitation but develops its subject more freely than a strict canon.

• Imitation (music)Related: Fugues use imitation to organize exposition and later development.

• The Well-Tempered ClavierBroader topic: The second piece in each pair develops a subject through interweaving voices.

• PassacagliaCompared with: A fugue organizes musical continuity through imitative counterpoint rather than a repeated bass.

• Beethoven piano sonatasRelated: The Hammerklavier and Op. 110 culminate in demanding fugues within sonata movements.

• Imitative counterpointBroader topic: The fugue is a major form built around recurring imitative entries.

• Symphony No. 9 (Beethoven)Related: A double fugue intensifies the finale after the “Ode to Joy” theme gains momentum.

• The Art of FugueNarrower topic: The work is a sequence of fugues exploring different ways to transform and combine one subject.

• SonataCompared with: Its imitative texture offers a different organizing principle from the sonata’s thematic and tonal design.

• Mass in B minorRelated: Imitative counterpoint shapes prominent choruses, including the opening Kyrie and concluding Dona nobis pacem.

• Grosse FugeNarrower topic: The work expands fugal procedures across an unusually large, multi-section span.

• Johann PachelbelRelated: Pachelbel’s keyboard music includes fugues shaped by the period’s contrapuntal practice.

• Concerto for Two ViolinsRelated: The finale’s imitative writing makes the two violins sound like contrapuntal partners.

• Girolamo FrescobaldiRelated: His ricercars and capriccios explore imitative counterpoint related to fugue.

• Passacaglia and Fugue in C minorNarrower topic: The second movement develops a fugue subject related to the passacaglia theme.

• String Quintet No. 5Related: The finale brings fugal procedures into the quintet’s closing movement.

• Symphony No. 41Related: The finale’s fugal passages draw on techniques associated with this form.

• Toccata and Fugue in D minorBroader topic: The second section builds a sustained contrapuntal argument from a recurring subject.