170:, it is not even the most common one; the most common order is Bass-Tenor-Treble-Alto. There are many other orders possible, particularly if one includes the many cases in which composers bring in two parts at once (so that there are just three instead of four entrances). However, it does seem to be a widely valid rule that the basses must at least be included in the first group to enter. This may reflect a wish to support the entrances with a solid bass line, or perhaps just a practical consideration: thanks to the weight of existing tradition, the bass singers have considerable practice in coming in alone at the beginning of a musical phrase, practice which the other sections lack. Thus a fuguing tune with a bass-first structure is likely to be more stable in performance.
267:" and "fuguing tune" means that the two forms are easily confused. A fuguing tune certainly is not some kind of failed attempt to write a fugue, as an ill-informed musicologist once asserted. This is plain from the different structures of the two genres: in a fugue, the voices take turns coming in at the very beginning of the piece, whereas in a fuguing tune that moment comes about a third of the way through. Moreover, in a fugue the musical material used at each entrance (the so-called "subject") is repeated many times throughout the piece, whereas in a fuguing tune it normally appears just in the one location of sequenced entries, and the rest of the work is somewhat more
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measure apart. First the basses take the lead for a phrase a measure long, and as they retire on the second measure to their own proper bass part, the take the lead with a sequence that is imitative of, if not identical with, that sung by the basses. The tenors in turn give way to the altos, and they to the trebles, all four parts doing the same passage (though at different pitches) in imitation of the preceding measure. ... Following this fuguing passage comes a four-measure phrase, with all the parts rhythmically neck and neck, and this closes the piece; though the last eight measures are often repeated.
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In the fuging tune all the parts start together and proceed in rhythmic and harmonic unity usually for the space of four measures or one musical sentence. The end of this sentence marks a cessation, a complete melodic close. During the next four measures the four parts set in, one at a time and one
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often ill-trained by orthodox standards ... wandered from village to village and eked out an existence by teaching the intricacies of psalm-singing and the rudiments of music to all who cared to learn. To supplement his generally meager income, frequently sold self-compiled tune-books in which
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George Pullen
Jackson's description above gives a common form for a fuguing tune, but there are variations. Jackson describes the entrance order of the four parts as "bottom to top" (Bass-Tenor-Alto-Treble), but this is not the only possible order. Indeed, in the fuguing tunes printed in
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According to Lowens, the fuguing tunes created by these singing masters at first involved a separate fuguing section appended to the end of a complete psalm tune. Later, the fuguing became more integrated and eventually evolved to be the longer part of the song.
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There is good evidence that by 1760, English tune books including fuguing tunes were circulating in the
American colonies; the first English fuguing tune printed in America appeared in the hymnbook
290:), "We call that a Fuge, when one part beginneth and the other singeth the same, for some number of Notes (which the first did sing)." In modern musical terminology, this is called a "
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The fuguing tune arose in
England in the middle of the 18th century. The first fuguing tunes were the work of itinerant singing masters, described by
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278:"fugue". Rather, as Irving Lowens points out, both terms hark back to a still earlier, more general usage (ultimately from Latin
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6, no. 1 (Spring): 43–52. Citations are from the reprinted version in Lowens (1964), except for the ones marked "Lowens 1953".
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Spirituals in the Southern Uplands: The Story of the Fasola Folk, Their Songs, Singings, and "Buckwheat Notes"
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421:. Hatboro, PA: Folklore Associates. Reprinted again under the same title, New York: Dover Publications, 1965.
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singing tradition. They first flourished in the mid-18th century and continue to be composed today.
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Lowens, Irving (1953). "The
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Early New
England Psalmody: An Historical Appreciation, 1620–1820
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Urania, or A Choice
Collection of Psalm-Tunes, Anthems, and Hymns
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American Fuging-Tunes, 1770-1820: A Descriptive
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the sixth and final stanza of hymn 21, book 1 of Watts's
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Plaine and Easie Introduction to Practicall Musicke
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189:psalm tunes
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39:Description
33:Sacred Harp
25:fuging tune
500:Categories
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269:homophonic
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140:July 2016
298:See also
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