The Roland Juno-106 is a synthesizer released by Roland Corporation in February 1984.
99-592: The Juno-106 is a polyphonic synthesizer with six voices. It is an analog synthesizer but with digitally controlled oscillators and chorus effects. Whereas its predecessor, the Juno-60 , has 56 patches, the Juno-106 has 128. It introduced Roland's performance lever for pitch bends and modulation, which became a standard feature of Roland instruments. It also adds MIDI and was one of the first analog synthesizers to allow users to sequence parameter changes. Artists who have used
198-661: A coda . Because of the composer's prerogative to decide most structural elements, the fugue is closer to a style of composition rather than a structural form. The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars , capriccios , canzonas , and fantasias . The Baroque composer Johann Sebastian Bach (1685–1750), well known for his fugues, shaped his own works after those of Jan Pieterszoon Sweelinck (1562–1621), Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c. 1637–1707) and others. With
297-488: A demonstration of compositional expertise. Jan Pieterszoon Sweelinck , Girolamo Frescobaldi , Johann Jakob Froberger and Dieterich Buxtehude all wrote fugues. Fugues were incorporated into a variety of musical genres , and are found in most of George Frideric Handel 's oratorios . Keyboard suites from this time often conclude with a fugal gigue . Domenico Scarlatti has only a few fugues among his corpus of over 500 harpsichord sonatas. The French overture featured
396-401: A few notes near the beginning). When the answer is an exact transposition of the subject into the new key, the answer is classified as a real answer ; alternatively, if the intervals of the subject are altered in any way, the answer is a tonal answer . When the subject begins with a prominent dominant note, or when there is a prominent dominant note very close to the beginning of the subject,
495-522: A final entry that contains the return of the subject in the fugue's tonic key. Fugues can also have episodes, which are parts of the fugue where new material often based on the subject is heard; a stretto (plural stretti), when the fugue's subject overlaps itself in different voices, or a recapitulation . A popular compositional technique in the Baroque era , the fugue was fundamental in showing mastery of harmony and tonality as it presented counterpoint . In
594-503: A fugue, the subject may be altered by inversion, retrograde (where the subject is heard back-to-front), diminution (the reduction of the subject's rhythmic values by a certain factor), augmentation (the enlargement of the subject's rhythmic values by a certain factor), or any combination thereof. The excerpt below, bars 7–12 of J.S. Bach's Fugue No. 2 in C minor, BWV 847, from the Well-Tempered Clavier , Book 1 illustrates
693-455: A male falsetto singer. Some of these songs are linked to the cult of the grapevine and many date back to the eighth century. The songs traditionally pervaded all areas of everyday life, ranging from work in the fields (the Naduri, which incorporates the sounds of physical effort into the music) to songs to curing of illnesses and to Christmas Carols (Alilo). Byzantine liturgical hymns also incorporated
792-533: A quick fugal section after a slow introduction. The second movement of a sonata da chiesa , as written by Arcangelo Corelli and others, was usually fugal. The Baroque period also saw a rise in the importance of music theory . Some fugues during the Baroque period were pieces designed to teach contrapuntal technique to students. The most influential text was Johann Joseph Fux's Gradus Ad Parnassum ("Steps to Parnassus "), which appeared in 1725. This work laid out
891-469: A set of five transcriptions for string quartet, K. 405 (1782), of fugues from Bach's Well-Tempered Clavier , introducing them with preludes of his own. In a letter to his sister Nannerl Mozart , dated in Vienna on 20 April 1782, Mozart recognizes that he had not written anything in this form, but moved by his wife's interest he composed one piece, which is sent with the letter. He begs her not to let anybody see
990-403: A tonal answer is usually necessary. To prevent an undermining of the fugue's key , this note is transposed up a fourth to the tonic rather than up a fifth to the supertonic . For the same reason, it is possible for the answer of such a subject to be in the subdominant key. During the answer, the voice in which the subject was previously heard accompanies with new material. If this new material
1089-514: A triple fugue for organ.) A counter-fugue is a fugue in which the first answer is presented as the subject in inversion (upside down), and the inverted subject continues to feature prominently throughout the fugue. Examples include Contrapunctus V through Contrapunctus VII , from Bach's The Art of Fugue . During the Baroque period, counter-fugues were sometimes called by the Latin name fuga contraria . German composer Johann Mattheson coined
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#17328765386441188-566: Is (are) presented simultaneously with the subject in the exposition (e.g. as in Kyrie Eleison of Mozart's Requiem in D minor or the fugue of Bach's Passacaglia and Fugue in C minor, BWV 582 ), and (b) a fugue in which all subjects have their own expositions at some point, and they are not combined until later (see for example, the three-subject Fugue No. 14 in F ♯ minor from Bach's Well-Tempered Clavier Book 2 , or more famously, Bach's "St. Anne" Fugue in E ♭ major, BWV 552 ,
1287-409: Is a collection of fugues (and four canons ) on a single theme that is gradually transformed as the cycle progresses. Bach also wrote smaller single fugues and put fugal sections or movements into many of his more general works. J.S. Bach's influence extended forward through his son C.P.E. Bach and through the theorist Friedrich Wilhelm Marpurg (1718–1795) whose Abhandlung von der Fuge ("Treatise on
1386-551: Is a fugue, and there are fugal passages in the last movements of his Piano Sonatas in A major, Op. 101 and A ♭ major Op. 110 . According to Charles Rosen , "With the finale of 110, Beethoven re-conceived the significance of the most traditional elements of fugue writing." Fugal passages are also found in the Missa Solemnis and all movements of the Ninth Symphony , except the third. A massive, dissonant fugue forms
1485-461: Is absent. The subject concludes on the quarter note (or crotchet) B ♭ of the third beat of the second bar, which harmonizes the opening G of the tonal answer. The later codettas may be considerably longer, and often serve to develop the material heard in the subject/answer and countersubject and possibly introduce ideas heard in the second countersubject or free counterpoint that follows. They may also be present to delay, and therefore heighten
1584-552: Is also found in North Macedonia and Bulgaria . Albanian polyphonic singing can be divided into two major stylistic groups as performed by the Tosks and Labs of southern Albania. The drone is performed in two ways: among the Tosks, it is always continuous and sung on the syllable 'e', using staggered breathing; while among the Labs, the drone is sometimes sung as a rhythmic tone, performed to
1683-439: Is also sometimes used more broadly, to describe any musical texture that is not monophonic. Such a perspective considers homophony as a sub-type of polyphony. Traditional (non-professional) polyphony has a wide, if uneven, distribution among the peoples of the world. Most polyphonic regions of the world are in sub-Saharan Africa , Europe and Oceania. It is believed that the origins of polyphony in traditional music vastly predate
1782-584: Is common in Svaneti; polyphonic dialogue over a bass background, prevalent in the Kakheti region in Eastern Georgia; and contrasted polyphony with three partially improvised sung parts, characteristic of western Georgia. The Chakrulo song, which is sung at ceremonies and festivals and belongs to the first category, is distinguished by its use of metaphor and its yodel, the krimanchuli and a "cockerel’s crow", performed by
1881-461: Is customary in the exposition to alternate entrances of the subject (S) with entrances of the answer (A). However, this order is occasionally varied. For example, the exposition from J.S. Bach's Well-Tempered Clavier, Book 1 Fugue No. 1 in C Major, BWV 846 uses a SAAS (subject-answer-answer-subject) exposition. A brief codetta is often heard connecting the various statements of the subject and answer, smoothly connecting each and often facilitating
1980-576: Is described as polyphonic due to Balkan musicians using a literal translation of the Greek polyphōnos ('many voices'). In terms of Western classical music, it is not strictly polyphonic, due to the drone parts having no melodic role, and can better be described as multipart . The polyphonic singing tradition of Epirus is a form of traditional folk polyphony practiced among Aromanians , Albanians, Greeks, and ethnic Macedonians in southern Albania and northwestern Greece. This type of folk vocal tradition
2079-490: Is followed by an entry in the dominant of the relative major or minor when the fugue's subject requires a tonal answer. In the fugues of earlier composers (notably Buxtehude and Pachelbel ), middle entries in keys other than the tonic and dominant tend to be the exception, and non-modulation the norm. One famous example of such non-modulating fugue occurs in Buxtehude's Praeludium (Fugue and Chaconne) in C, BuxWV 137. When there
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#17328765386442178-401: Is no entrance of the subject and answer material, the composer can develop the subject by altering it. This is called a counter-exposition , which often uses the inversion of the subject, although the term is sometimes used synonymously with middle entry and may also describe the exposition of completely new subjects, such as those encountered in double fugues . In any of the entries within
2277-454: Is not strict, and the setting less formal. See for example, variation 24 of Beethoven 's Diabelli Variations Op. 120 . The term fuga was used as far back as the Middle Ages , but was initially used to refer to any kind of imitative counterpoint, including canons , which are now thought of as distinct from fugues. Prior to the 16th century, fugue was originally a genre. It was not until
2376-462: Is reused in later statements of the subject, it is called a countersubject ; if this accompanying material is only heard once, it is simply referred to as free counterpoint . The countersubject is written in invertible counterpoint at the octave or fifteenth (two octaves). The distinction is made between the use of free counterpoint and regular countersubjects accompanying the fugue subject/answer, because in order for it to be heard accompanying
2475-420: Is sung in a nasal temperament. Additionally, many paghjella songs contain a picardy third . After paghjella's revival in the 1970s, it mutated. In the 1980s it had moved away from some of its more traditional features as it became much more heavily produced and tailored towards western tastes. There were now four singers, significantly less melisma, it was much more structured, and it exemplified more homophony. To
2574-451: Is usually based upon some musical idea heard in the exposition. Each episode has the primary function of transitioning into a new key for the next entry of the subject, and may also provide release from the strictness of form required by the exposition. André Gedalge , a teacher of Maurice Ravel , stated that the episode of the fugue is generally based on a series of imitations of the subject that have been fragmented. Further entries of
2673-408: Is written according to certain rules. The composer has more freedom once the exposition ends, though a logical key structure is usually followed. Further entries of the subject will occur throughout the fugue, repeating the accompanying material at the same time, and often accompanying key changes. The various entries may or may not be separated by episodes or occur in stretto . A fugue begins with
2772-411: The organum that had been introduced centuries earlier, and also added a third and fourth voice to the now homophonic chant. In the 13th century, the chant-based tenor was becoming altered, fragmented, and hidden beneath secular tunes, obscuring the sacred texts as composers continued to develop polyphonic techniques. The lyrics of love poems might be sung above sacred texts in the form of a trope , or
2871-629: The Eroica Symphony (1805). Beethoven incorporated fugues in his sonatas, and reshaped the episode's purpose and compositional technique for later generations of composers. Nevertheless, fugues did not take on a truly central role in Beethoven's work until his late period. The finale of Beethoven's Hammerklavier Sonata contains a fugue, which was practically unperformed until the late 19th century, due to its tremendous technical difficulty and length. The last movement of his Cello Sonata, Op. 102 No. 2
2970-526: The Middle Ages , the term was widely used to denote any works in canonic style; however, by the Renaissance , it had come to denote specifically imitative works. Since the 17th century, the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short main theme, called the subject, which then sounds successively in each voice . When each voice has completed its entry of
3069-677: The Republic of Georgia is arguably the oldest polyphony in the Christian world. Georgian polyphony is traditionally sung in three parts with strong dissonances, parallel fifths, and a unique tuning system based on perfect fifths. Georgian polyphonic singing has been proclaimed by UNESCO an Intangible Cultural Heritage of Humanity. Popular singing has a highly valued place in Georgian culture. There are three types of polyphony in Georgia: complex polyphony, which
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3168-647: The Wagogo use counterpoint. The music of African Pygmies (e.g. that of the Aka people ) is typically ostinato and contrapuntal, featuring yodeling . Other Central African peoples tend to sing with parallel lines rather than counterpoint. In Burundi, rural women greet each other with akazehe , a two-part interlocking vocal rhythm. The singing of the San people , like that of the pygmies, features melodic repetition, yodeling, and counterpoint. The singing of neighboring Bantu peoples , like
3267-460: The Zulu , is more typically parallel. The peoples of tropical West Africa traditionally use parallel harmonies rather than counterpoint. Fugue In classical music , a fugue ( / f juː ɡ / , from Latin fuga , meaning "flight" or "escape" ) is a contrapuntal , polyphonic compositional technique in two or more voices , built on a subject (a musical theme) that is introduced at
3366-426: The mass attributable to one composer is Guillaume de Machaut 's Messe de Nostre Dame , dated to 1364, during the pontificate of Pope Urban V . The Second Vatican Council said Gregorian chant should be the focus of liturgical services, without excluding other forms of sacred music, including polyphony. English Protestant west gallery music included polyphonic multi-melodic harmony, including fuguing tunes , by
3465-511: The 16th century and is derived from the French word fugue or the Italian fuga . This in turn comes from the Latin fuga , which is itself related to both fugere ("to flee") and fugare ("to chase"). The adjectival form is fugal . Variants include fughetta ("a small fugue") and fugato (a passage in fugal style within another work that is not a fugue). A fugue begins with the exposition and
3564-415: The 16th century that fugal technique as it is understood today began to be seen in pieces, both instrumental and vocal. Fugal writing is found in works such as fantasias , ricercares and canzonas . "Fugue" as a theoretical term first occurred in 1330 when Jacobus of Liege wrote about the fuga in his Speculum musicae . The fugue arose from the technique of "imitation", where the same musical material
3663-579: The Baroque style. These included a fugue in C minor, K. 426, for two pianos (1783). Later, Mozart incorporated fugal writing into his opera Die Zauberflöte and the finale of his Symphony No. 41 . The parts of the Requiem he completed also contain several fugues (most notably the Kyrie, and the three fugues in the Domine Jesu; he also left behind a sketch for an Amen fugue which, some believe , would have come at
3762-522: The Classical era. Haydn's most famous fugues can be found in his "Sun" Quartets (op. 20, 1772), of which three have fugal finales. This was a practice that Haydn repeated only once later in his quartet-writing career, with the finale of his String Quartet, Op. 50 No. 4 (1787). Some of the earliest examples of Haydn's use of counterpoint, however, are in three symphonies ( No. 3 , No. 13 , and No. 40 ) that date from 1762 to 1763. The earliest fugues, in both
3861-595: The Evolutionary Model, the origins of polyphonic singing are much deeper, and are connected to the earlier stages of human evolution; polyphony was an important part of a defence system of the hominids, and traditions of polyphony are gradually disappearing all over the world. Although the exact origins of polyphony in the Western church traditions are unknown, the treatises Musica enchiriadis and Scolica enchiriadis , both dating from c . 900, are usually considered
3960-414: The Georgian polyphonic tradition to such an extent that they became a significant expression of it. Chechen and Ingush traditional music can be defined by their tradition of vocal polyphony. Chechen and Ingush polyphony is based on a drone and is mostly three-part, unlike most other north Caucasian traditions' two-part polyphony. The middle part carries the main melody accompanied by a double drone, holding
4059-503: The JU-06 sound module, a digital recreation of the Juno-106 using Roland's digital Analog Circuit Behaviour (ACB) technology. It is battery powered, has 4-voices and 23 parameters controlled from the front panel. It cost $ 299 at the time of the release. in 2016, Behringer released the Deepmind-12, an analog synthesizer inspired by the Juno-106 which features 12 voices. It was priced at $ 999 at
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4158-493: The Juno-106 include Jacob Mann, Vince Clarke , Frankie Goes to Hollywood , Chvrches , Leftfield , William Orbit , Paul Frick from Tangerine Dream , Underworld , Reel 2 Real , Jam & Spoon , and Vangelis . The Juno-106 was Roland's bestselling synthesizer until the release of the Roland D-50 later in the decade. It remains one of the bestselling synthesizers. In 1985, Roland released two versions with built-in speakers:
4257-602: The Juno-106S and the HS60 Synth Plus. The synth's popularity continues to the present day, especially with EDM and artists such as Tame Impala , Daft Punk , Calvin Harris , Armin van Buuren , Mark Ronson , Caribou among many others. The Roland MKS-7 Super Quartet, a multi-timbral synth module with dedicated sections for each part, used the same 80017 filter chip as the Juno-106 for the bass section. In 2015, Roland released
4356-502: The Jupiter-X and Jupiter-Xm modern digital synths. In 2017, Roland released some software synthesizers in the cloud, including Cloud Juno-106 . The cloud subscription cost $ 240/yr at the time. In June 2020, Roland released Zenology plugins for Roland synths, which includes a Juno-106 emulator. In 2020, Cherry Audio released the DCO-106 plugin, a juiced up version of the Juno-106 which
4455-685: The Salzburg Cathedral, the young Mozart composed ambitious fugues and contrapuntal passages in Catholic choral works such as Mass in C minor, K. 139 "Waisenhaus" (1768), Mass in C major, K. 66 "Dominicus" (1769), Mass in C major, K. 167 "in honorem Sanctissimae Trinitatis" (1773), Mass in C major, K. 262 "Missa longa" (1775), Mass in C major, K. 337 "Solemnis" (1780), various litanies, and vespers. Leopold admonished his son openly in 1777 that he not forget to make public demonstration of his abilities in "fugue, canon, and contrapunctus". Later in life,
4554-532: The United States and even in places such as the United Kingdom, Germany, Poland, and Australia, among others. Polyphonic singing is traditional folk singing of this part of southern Europe. It is also called ancient , archaic or old-style singing. Incipient polyphony (previously primitive polyphony) includes antiphony and call and response , drones , and parallel intervals . Balkan drone music
4653-483: The Western musical tradition, the term polyphony is usually used to refer to music of the late Middle Ages and Renaissance . Baroque forms such as fugue , which might be called polyphonic, are usually described instead as contrapuntal . Also, as opposed to the species terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases
4752-402: The application of most of the characteristics described above. The fugue is for keyboard and in three voices, with regular countersubjects. This excerpt opens at last entry of the exposition: the subject is sounding in the bass, the first countersubject in the treble, while the middle-voice is stating a second version of the second countersubject, which concludes with the characteristic rhythm of
4851-491: The audibility of the words. Instruments, as well as certain modes, were actually forbidden in the church because of their association with secular music and pagan rites. After banishing polyphony from the Liturgy in 1322, Pope John XXII warned against the unbecoming elements of this musical innovation in his 1324 bull Docta Sanctorum Patrum . In contrast Pope Clement VI indulged in it. The oldest extant polyphonic setting of
4950-408: The basis for writing motets as well. Palestrina's imitative motets differed from fugues in that each phrase of the text had a different subject which was introduced and worked out separately, whereas a fugue continued working with the same subject or subjects throughout the entire length of the piece. It was in the Baroque period that the writing of fugues became central to composition, in part as
5049-408: The beginning in imitation (repetition at different pitches), which recurs frequently throughout the course of the composition. It is not to be confused with a fuguing tune , which is a style of song popularized by and mostly limited to early American (i.e. shape note or " Sacred Harp ") music and West Gallery music . A fugue usually has three main sections: an exposition , a development , and
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#17328765386445148-604: The choruses of his mature oratorios The Creation and The Seasons , as well as several of his later symphonies, including No. 88 , No. 95 , and No. 101 ; and the late string quartets, Opus 71 no. 3 and (especially) Opus 76 no. 6. The young Wolfgang Amadeus Mozart studied counterpoint with Padre Martini in Bologna. Under the employment of Archbishop Colloredo , and the musical influence of his predecessors and colleagues such as Johann Ernst Eberlin , Anton Cajetan Adlgasser , Michael Haydn , and his own father, Leopold Mozart at
5247-423: The conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to "successive composition", where voices were written in an order with each new voice fitting into the whole so far constructed, which was previously assumed. The term polyphony
5346-405: The countersubjects and/or other free contrapuntal accompaniments. Middle entries tend to occur at keys other than the tonic. These are often closely related keys such as the relative dominant and subdominant , although the key structure of fugues varies greatly. In the fugues of J.S. Bach, the first middle entry occurs most often in the relative major or minor of the work's overall key, and
5445-522: The decline of sophisticated styles at the end of the baroque period , the fugue's central role waned, eventually giving way as sonata form and the symphony orchestra rose to a more prominent position. Nevertheless, composers continued to write and study fugues; they appear in the works of Wolfgang Amadeus Mozart (1756–1791) and Ludwig van Beethoven (1770–1827), as well as modern composers such as Dmitri Shostakovich (1906–1975) and Paul Hindemith (1895–1963). The English term fugue originated in
5544-611: The emergence of polyphony in European professional music. Currently there are two contradictory approaches to the problem of the origins of vocal polyphony: the Cultural Model, and the Evolutionary Model. According to the Cultural Model, the origins of polyphony are connected to the development of human musical culture; polyphony came as the natural development of the primordial monophonic singing; therefore polyphonic traditions are bound to gradually replace monophonic traditions. According to
5643-517: The end of the Sequentia). Ludwig van Beethoven was familiar with fugal writing from childhood, as an important part of his training was playing from The Well-Tempered Clavier . During his early career in Vienna , Beethoven attracted notice for his performance of these fugues. There are fugal sections in Beethoven's early piano sonatas, and fugal writing is to be found in the second and fourth movements of
5742-413: The entry of one of the voices may not be heard until considerably later. For example, in J.S. Bach's Fugue in C minor for Organ, BWV 549, the subject entrance in the lowest voice (played by the organ pedals), is not heard until near the end of the fugue. Further entries of the subject may follow the initial exposition either immediately or separated by episodes. Episodic material is always modulatory and
5841-429: The exposition of its subject in one of the voices alone in the tonic key. After the statement of the subject, a second voice enters and states the subject with the subject transposed to another key (almost always the dominant or subdominant , with the latter being less common), which is known as the answer . To enable a natural harmonic progression, the answer may also be altered slightly (usually by changing one or
5940-454: The extraordinary profundity of this fugue ." By the beginning of the Romantic era , fugue writing had become specifically attached to the norms and styles of the Baroque. Felix Mendelssohn wrote many fugues inspired by his study of the music of Johann Sebastian Bach . Johannes Brahms' Variations and Fugue on a Theme by Handel , Op. 24, is a work for solo piano written in 1861. It consists of
6039-406: The final entry of the subject is considered to be the final coda and is normally cadential . A simple fugue has only one subject, and does not utilize invertible counterpoint . A double fugue has two subjects that are often developed simultaneously. Similarly, a triple fugue has three subjects. There are two kinds of double (triple) fugue: (a) a fugue in which the second (third) subject
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#17328765386446138-688: The finale of his String Quartet, Op. 130 (1825); the latter was later published separately as Op. 133, the Große Fuge ("Great Fugue"). However, it is the fugue that opens Beethoven's String Quartet in C ♯ minor, Op. 131 that several commentators regard as one of the composer's greatest achievements. Joseph Kerman (1966, p. 330) calls it "this most moving of all fugues". J. W. N. Sullivan (1927, p. 235) hears it as "the most superhuman piece of music that Beethoven has ever written." Philip Radcliffe (1965, p. 149) says "[a] bare description of its formal outline can give but little idea of
6237-683: The form of bamboo panpipe ensembles. Europeans were surprised to find drone-based and dissonant polyphonic singing in Polynesia. Polynesian traditions were then influenced by Western choral church music, which brought counterpoint into Polynesian musical practice. Numerous Sub-Saharan African music traditions host polyphonic singing, typically moving in parallel motion . While the Maasai people traditionally sing with drone polyphony, other East African groups use more elaborate techniques. The Dorze people , for example, sing with as many as six parts, and
6336-530: The front panel. It cost $ 399 at the time of the release. Roland released the Juno-X in 2022, a modern synth featuring digital emulations of the Juno-60 and Juno-106 as well as an additional Juno-X model that features a supersaw waveform, velocity sensitivity and an Alpha-Juno style pitch envelope control. The Juno X's control panel design directly references the controls of the Juno-106 while the sound engine follows on from
6435-421: The fugue and manifests the hope to write five more and then present them to Baron van Swieten. Regarding the piece, he said "I have taken particular care to write andante maestoso upon it, so that it should not be played fast – for if a fugue is not played slowly the ear cannot clearly distinguish the new subject as it is introduced and the effect is missed". Mozart then set to writing fugues on his own, mimicking
6534-455: The fugue", 1753) was largely based on J.S. Bach's work. During the Classical era , the fugue was no longer a central or even fully natural mode of musical composition. Nevertheless, both Haydn and Mozart had periods of their careers in which they in some sense "rediscovered" fugal writing and used it frequently in their work. Joseph Haydn was the leader of fugal composition and technique in
6633-491: The harpsichord in The Well-Tempered Clavier , which many composers and theorists look at as the greatest model of fugue. The Well-Tempered Clavier comprises two volumes written in different times of Bach's life, each comprising 24 prelude and fugue pairs, one for each major and minor key. Bach is also known for his organ fugues, which are usually preceded by a prelude or toccata . The Art of Fugue , BWV 1080 ,
6732-407: The impact of the subject proper. The counter-exposition is a second exposition. However, there are only two entries, and the entries occur in reverse order. The counter-exposition in a fugue is separated from the exposition by an episode and is in the same key as the original exposition. Sometimes counter-expositions or the middle entries take place in stretto , whereby one voice responds with
6831-436: The impact of, the reentry of the subject in another voice. Finally, they may be modulatory passages to return the fugue to the tonic. The exposition usually concludes when all voices have given a statement of the subject or answer. In some fugues, especially those with an odd number of voices, the exposition will end with a redundant entry, or an extra presentation of the theme in a voice which has already entered. Furthermore,
6930-411: The initial subject, continues by stating two or more themes (or countersubjects), which must be conceived in correct invertible counterpoint . (In other words, the subject and countersubjects must be capable of being played both above and below all the other themes without creating any unacceptable dissonances.) Each voice takes this pattern and states all the subjects/themes in the same order (and repeats
7029-400: The interval of a fifth around the melody. Intervals and chords are often dissonances (sevenths, seconds, fourths), and traditional Chechen and Ingush songs use sharper dissonances than other North Caucasian traditions. The specific cadence of a final, dissonant three-part chord, consisting of fourth and the second on top (c-f-g), is almost unique. (Only in western Georgia do a few songs finish on
7128-400: The inversion of a perfect fifth results in a perfect fourth, which, unlike the perfect fifth, is considered a dissonance, requiring proper preparation and resolution. The countersubject, if sounding at the same time as the answer, is transposed to the pitch of the answer. Each voice then responds with its own subject or answer, and further countersubjects or free counterpoint may be heard. It
7227-411: The iso-polyphonic singing and is related to the ison of Byzantine church music, where the drone group accompanies the song. The French island of Corsica has a unique style of music called Paghjella that is known for its polyphony. Traditionally, Paghjella contains a staggered entrance and continues with the three singers carrying independent melodies. This music tends to contain much melisma and
7326-496: The major impetus to fugal writing for Mozart was the influence of Baron Gottfried van Swieten in Vienna around 1782. Van Swieten, during diplomatic service in Berlin, had taken the opportunity to collect as many manuscripts by Bach and Handel as he could, and he invited Mozart to study his collection and encouraged him to transcribe various works for other combinations of instruments. Mozart was evidently fascinated by these works and wrote
7425-408: The material when all the themes have been stated, sometimes after a rest). There is usually very little non-structural/thematic material. During the course of a permutation fugue, it is quite uncommon, actually, for every single possible voice-combination (or "permutation") of the themes to be heard. This limitation exists in consequence of sheer proportionality: the more voices in a fugue, the greater
7524-401: The mid-18th century. This tradition passed with emigrants to North America, where it was proliferated in tunebooks, including shape-note books like The Southern Harmony and The Sacred Harp . While this style of singing has largely disappeared from British and North American sacred music, it survived in the rural Southern United States , until it again began to grow a following throughout
7623-412: The modulation between the tonic and the key of the answer. The codetta, like other parts of the exposition, may be reused throughout the remainder of the fugue. The first answer must occur as soon after the initial statement of the subject as possible; therefore, the first codetta is often absent or very short. In the example shown above of J.S. Bach's Fugue No. 16 in G minor, BWV 861 , the first codetta
7722-511: The notation does not indicate precise pitch levels or durations. However, a two-part antiphon to Saint Boniface recently discovered in the British Library , is thought to have originated in a monastery in north-west Germany and has been dated to the early tenth century. European polyphony rose out of melismatic organum , the earliest harmonization of the chant. During the 12th century, composers such as Léonin and Pérotin developed
7821-414: The number of possible permutations. In consequence, composers exercise editorial judgment as to the most musical of permutations and processes leading thereto. One example of permutation fugue can be seen in the eighth and final chorus of J.S. Bach's cantata, Himmelskönig, sei willkommen , BWV 182 . Permutation fugues differ from conventional fugue in that there are no connecting episodes, nor statement of
7920-431: The oldest extant written examples of polyphony. These treatises provided examples of two-voice note-against-note embellishments of chants using parallel octaves, fifths, and fourths. Rather than being fixed works, they indicated ways of improvising polyphony during performance. The Winchester Troper , from c . 1000, is generally considered to be the oldest extant example of notated polyphony for chant performance, although
8019-464: The opening exposition takes place in stretto form is known as a close fugue or stretto fugue (see for example, the Gratias agimus tibi and Dona nobis pacem choruses from J.S. Bach's Mass in B minor ). The closing section of a fugue often includes one or two counter-expositions, and possibly a stretto, in the tonic ; sometimes over a tonic or dominant pedal note . Any material that follows
8118-461: The papal court also offended some medieval ears. It gave church music more of a jocular performance quality supplanting the solemnity of worship they were accustomed to. The use of and attitude toward polyphony varied widely in the Avignon court from the beginning to the end of its religious importance in the fourteenth century. Harmony was considered frivolous, impious, lascivious, and an obstruction to
8217-553: The people of Corsica, the polyphony of paghjella represented freedom; it had been a source of cultural pride in Corsica and many felt that this movement away from the polyphonic style meant a movement away from paghjella's cultural ties. This resulted in a transition in the 1990s. Paghjella again had a strong polyphonic style and a less structured meter. Cantu a tenore is a traditional style of polyphonic singing in Sardinia . Polyphony in
8316-565: The sacred text might be placed within a familiar secular melody. The oldest surviving piece of six-part music is the English rota Sumer is icumen in ( c. 1240 ). European polyphony rose prior to, and during the period of the Western Schism . Avignon , the seat of popes and then antipopes , was a vigorous center of secular music-making, much of which influenced sacred polyphony. The notion of secular and sacred music merging in
8415-513: The same dissonant c-f-g chord.) Parts of Oceania maintain rich polyphonic traditions. The peoples of New Guinea Highlands including the Moni , Dani , and Yali use vocal polyphony, as do the people of Manus Island . Many of these styles are drone -based or feature close, secondal harmonies dissonant to western ears. Guadalcanal and the Solomon Islands are host to instrumental polyphony, in
8514-410: The second bar in the second system, and the first middle entry. Here, Bach has altered the second countersubject to accommodate the change of mode . At any point in the fugue there may be "false entries" of the subject, which include the start of the subject but are not completed. False entries are often abbreviated to the head of the subject, and anticipate the "true" entry of the subject, heightening
8613-483: The subject in more than one instance, the countersubject must be capable of sounding correctly when played above or below the subject, and must be conceived, therefore, in invertible (double) counterpoint. In tonal music, invertible contrapuntal lines must be written according to certain rules, because several intervallic combinations, while acceptable in one orientation, are not permissible when inverted. As an example, perfect fifths are contrapuntally acceptable, while
8712-404: The subject, and is always used together with the first version of the second countersubject. Following this an episode modulates from the tonic to the relative major by means of sequence , in the form of an accompanied canon at the fourth. Arrival in E ♭ major is marked by a quasi perfect cadence across the bar line, from the last quarter note beat of the first bar to the first beat of
8811-430: The subject, or middle entries, occur throughout the fugue. The development must state the subject or answer at least once in its entirety, and may also be heard in combination with any countersubjects from the exposition, new countersubjects, free counterpoint, or any of these in combination. It is uncommon for the subject to enter alone in a single voice in the middle entries; rather, it is usually heard with at least one of
8910-408: The subject, the exposition is complete. This is often followed by a connecting passage, or episode , developed from previously heard material; further "entries" of the subject are then heard in related keys . Episodes (if applicable) and entries are usually alternated until the final entry of the subject, at which point the music has returned to the opening key, or tonic , which is often followed by
9009-441: The subject/answer before the first voice has completed its entry of the subject/answer, usually increasing the intensity of the music. Only one entry of the subject must be heard in its completion in a stretto . However, a stretto in which the subject/answer is heard in completion in all voices is known as stretto maestrale or grand stretto . Strettos may also occur by inversion, augmentation and diminution. A fugue in which
9108-463: The symphonies and in the Baryton trios , exhibit the influence of Joseph Fux's treatise on counterpoint, Gradus ad Parnassum (1725), which Haydn studied carefully. Haydn's second fugal period occurred after he heard, and was greatly inspired by, the oratorios of Handel during his visits to London (1791–1793, 1794–1795). Haydn then studied Handel's techniques and incorporated Handelian fugal writing into
9207-456: The term gegenfuge to refer to a counter-fugue construct in his Der vollkommene Capellmeister (1739), and some German-language texts use that name to refer to a counter-fugue. Permutation fugue describes a type of composition (or technique of composition) in which elements of fugue and strict canon are combined. Each voice enters in succession with the subject, each entry alternating between tonic and dominant, and each voice, having stated
9306-433: The terms of "species" of counterpoint , and offered a series of exercises to learn fugue writing. Fux's work was largely based on the practice of Palestrina 's modal fugues. Mozart studied from this book, and it remained influential into the nineteenth century. Haydn , for example, taught counterpoint from his own summary of Fux and thought of it as the basis for formal structure. Bach's most famous fugues are those for
9405-464: The text of the song. It can be differentiated between two-, three- and four-voice polyphony. In Aromanian music , polyphony is common, and polyphonic music follows a set of common rules. The phenomenon of Albanian folk iso-polyphony ( Albanian iso-polyphony ) has been proclaimed by UNESCO a " Masterpiece of the Oral and Intangible Heritage of Humanity ". The term iso refers to the drone, which accompanies
9504-405: The themes in related keys. So for example, the fugue of Bach's Passacaglia and Fugue in C minor, BWV 582 is not purely a permutation fugue, as it does have episodes between permutation expositions. Invertible counterpoint is essential to permutation fugues but is not found in simple fugues. A fughetta is a short fugue that has the same characteristics as a fugue. Often the contrapuntal writing
9603-576: The time of release. In 2020, developer Momo Müller released an unofficial PC MIDI editor with the interface of June-106, called the Deepmind - Juno-106 Editor. In 2019, Roland released the JU-06A, which is a digitally based synthesizer combining the JUNO-60 and JUNO-106. It has the continuous high-pass filter of the 106, the envelope-controllable pulse-width-modulation of the 60, and the filter of both switchable from
9702-401: Was priced at $ 39 USD in 2020. Polyphony Polyphony ( / p ə ˈ l ɪ f ə n i / pə- LIF -ə-nee ) is a type of musical texture consisting of two or more simultaneous lines of independent melody , as opposed to a musical texture with just one voice ( monophony ) or a texture with one dominant melodic voice accompanied by chords ( homophony ). Within the context of
9801-503: Was repeated starting on a different note. Gioseffo Zarlino , a composer, author, and theorist in the Renaissance , was one of the first to distinguish between the two types of imitative counterpoint: fugues and canons (which he called imitations). Originally, this was to aid improvisation , but by the 1550s, it was considered a technique of composition. The composer Giovanni Pierluigi da Palestrina (1525?–1594) wrote masses using modal counterpoint and imitation, and fugal writing became
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