At very least, while you are creating the subject, you must hear a harmony in your imagination so that you are simulataneously creating a harmonic progression while creating the single-line melody. This is in anticipation of a second countersubject, soon to be introduced, which will fill in the missing third.
Some analysts use rulers to keep lines straight and neat. Here is a straightfoward process for composing a fugue. This limitation exists in consequence of sheer proportionality: the more voices in a fugue, the greater the number of possible permutations.
This is why I recommend listening to a piece several times as you analyze. This area is Dr. Coda codettathe final entry, sometimes following a deceptive cadence, often over a tonic pedal.
What is the primary difference between the beginning of a canon and the beginning of a fugue? Like those great models, this one is an anti-scholastic fugue.
Haydn then studied Handel's techniques and incorporated Handelian fugal writing into the choruses of his mature oratorios The Creation and The Seasonsas well as several of his later symphonies, including No. The Renaissance composer Giovanni Pierluigi da Palestrina ?