About this work
In this second half, The Art of Fugue takes symmetry and combination further. Mirror fugues can be read in their original and inverted forms, while canons impose other rules of imitation. The achievement remains musical because the lines retain their own profiles, tensions and cadences.
Multiple subjects eventually concentrate several procedures within one architecture. The motif corresponding to the letters B-A-C-H appears in the final fugue, which breaks off in the source instead of reaching a completed conclusion. This documentary boundary belongs to the transmitted work and should neither be hidden nor silently completed.
To study the mirror movements, mark one voice and then find its inversion before assembling the texture. In the canons, first identify the rule and interval of imitation. Approach the unfinished fugue without automatic funeral slowing; retain the direction of the counterpoint until the exact point where the document stops.
What the document containsDocument: The document contains 64 pages in PDF format. No MIDI file is currently attached to this historical record. The PDF directly continues the first part with the later Contrapuncti, mirror fugues, canons and the unfinished final fugue; the two files are complementary.The historical record marks the work and file as public domain but does not document the editor or exact provenance of this copy. The file preserved by LesPartitions.info can be compared with the reference catalogue. Following that check, LesPartitions.info separates established facts from information that remains incomplete.