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Holst uses techniques such as these to emphasize the first and last fugue subjects of the final section (again, these are bass entries). FEATURES Gustav Holst (1874-1934) arranged Bach's Fugue in G Major, BWV 577, for military band as a preparatory exercise for his band composition Hammersmith, Op. 52, which was commissioned by the BBC'. Although BW-V 577 was once counted among J.S. Bach's compositions, this attribution is now regarded as spurious.2 Nevertheless, the Fugue in G Major-or the Fugue & la Gigue, as Holst dubbed it-has enjoyed lasting popularity, both as an organ work and a band transcription. [Extracted from the article]

FEATURES This month's article compares the two keyboard parts in Samuel Coleridge-Taylor's Suite, Op. 3 - a four-movement chamber work for violin and piano or organ. Contrasting Accompaniments Adapting a piano accompaniment is a routine activity for many organists; they may assign some left-hand notes to the pedal or sustain certain repeated chords. Yet the organ accompaniment differs substantially from these versions, providing the opportunity for a violinist to contribute a fresh, individual perspective on this inspiring music.4 It is time for the organ accompaniment to be rediscovered as well. [Extracted from the article]

Clearly, the remarkable four-part stretto presentation of this head motive replaces the tonic return of the fugue subject as the conclusive thematic statement. This becomes important when we consider how that first stretto, which originally sounds like a decorative way to pass between fugue subjects, ultimately links to other strettos and becomes the organizing principle of the B section, superseding the conventions of fugue composition. FEATURES This month's article celebrates César Franck's transcription of one of his own solo organ works for harmonium and piano. [Extracted from the article]

The article discusses the Bach's "Prelude, Fugue and Allegro," Part III Allegro music performance. It says that the music is written for lute or lute harpsichord around 1740 and the phrases of the music began with a six-bar phrase at the end of the A section, which is repeated at the end of the B section. It mentions that the descending-bass progression notes the first time in the piece that one's heard a musical idea followed by octave transposition.

The article offers an analysis of "The Fugue," by J. S. Bach to enrich the performance of guitarists in expressing them musically. It starts with the familiarity and awareness of the performer on the expressive potential of the piece, taking liberties with the passage rhythm, the da capo, bass entrance and the retardando and decrescendo. It also notes parts of the A section including the exposition, episode and final cadence and the new theme of the B section with a plagal chord progression.

The article offers information on the Prelude, Fugue, and Allegro composition from Bach. It states that the movement of the composition uses an exact or transposed repetition that is not heard in the other music of Bach. The first few measures of the composition functions as a ritornello. It also mentions that each of the repetition forms a recognizable landmark in the musical terrain.