The Art of Fugue, BWV 1080: Contrapunctus IV [with analysis]

[@p07a]

Thanks for the video. I feel like I will never truly understand the piece until I watch this video, pausing every time there is a page flip, to think about it for a few minutes, and then also having to think about it in "big picture" mode.

[@bettysun5432]

Beautiful! This channel is my new happy place 🥰

[@lucasvasconcelos5705]

Really, really thankful for you. I've been trying to learn this piece for a few months and I always give up when I reach a point where I can't figure out the right fingering. Now, I can finally be able to play it. Thanks very much :)

[@RuoshiSun]

I'm glad you find it useful! Just beware these fugues are some of the most "unpianistic" works and there is no one-size-fits-all solution in terms of fingering. (Perhaps that's why the Henle edition did not provide any fingerings at all.) You will very likely still need to work out one that suits you the best in very tricky passages.

[@julianmanjarres1998]

There are even more secrets hidden in this than meets the eye.. In measure 81 for example, you can see the an inverted version of the soprano line from measure 47. Later it is seen again in its original form in the bass at measure 122, with the tenor sequencing with an inverted version of the blue counter subject and arguably a fragment of the green subject. In the same measure 122, the alto is imitating the soprano in inverted form. The first few notes from the tenor in 122 is arguably also another instance of the green countersubject fully stated. Bach was a nut job.

[@doctorstrange2736]

Great offering as always Ruoshi. Thanks for the Analysis.

[@roro-mm7cc]

Very impressive.

[@liliguo3680]

Amazing!