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Although they are not included in the chart above, it is also quite common for pieces in sonata form to include both an introduction prior to the exposition, and a coda after the recapitulation. The exposition introduces the main themes. The melodies that comprise these themes are designed to be memorable so that audiences will recognize them when they return in the recapitulation.

Within the exposition and recapitulation are transitional sub-sections that are designed to move the music forward into the next section. Transitions are full of melodic and harmonic movement designed to build energy and momentum. The middle section, the development, plays with the themes introduced in the exposition and allows them to take the harmony to new and unexpected places.

The style of the development section is agitated and unstable harmonically. Developments often include contrapuntal material as well. The recapitulation is not a literal repeat of the exposition, but it brings back the original themes in their original order. These restatements may be varied, but the recognizable themes nonetheless give listeners material that is more stable and familiar than that of the development.

It is in the recapitulation that we begin to shift towards the ultimate resolution and conclusion of the piece. The actual conclusion of a piece in sonata form is usually accomplished by a coda inserted after the recapitulation. Hook: The Recorded Documentary. The Perfect Bach.

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Fugue in G Minor

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The Canadian Brass Go for Baroque! Bach Transcriptions. Baroque Brass. Baroque: The Greatest Hits. Bach: Complete Works for Organ, Vol. Les Bis Pour Orgue. Stokowski's Symphonic Bach. Encores [12 Tracks]. The Tubadours. Bach: Orgelwerke IV. Bach: Orchestral Transcriptions by Stokowski. Royal Fanfare. Bach: Great Organ Works.

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Little Fugue in G minor BWV 578

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Music In The Baroque Era | Fugue | Fuga | Bach's "Little" Fugue in G Minor

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Menuetto Classics. MV Cremona. He came from a family of musicians. There were over 53 musicians in his family. An example of one of these techniques is the parody technique. Alfred Mann argues that. Although the texture of the piece is clearly Baroque in its construction, it has emotional depth that anticipates the Romantic period.

The fugue is tuneful, partially because of its inventive repetition and expressive use of contrast. As in all fugues, one melody seems to repeat the other, in a kind of a musical dance.