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BACH’S ORGAN FUGUE IN G MINORBach’s Organ Fugue in G Minor contains a six measure subject with a tonal answer. The countersubject first appears in the top voice in the last beat of the sixth measure. However, instead of a total repetition, there are variations of the countersubject prevalent in the remaining voices. For example, only the first two measures of the countersubject appear in the second voice with the rest free material, whereas the third voice contains a majority of the countersubject with limited free material. The exposition ends with a half cadence at the Dominant in measure 22.The development section of Bach’s fugue contains episodes of the fugue subject in the lower three voices starting with the tenor voice in measure 25, followed by the alto and bass voices. Throughout the episode, the soprano voice contains real and tonal sequences until the end of the episode, which occurs in measure 45. Bach uses a pedal point in the bass as well as an invertible counterpoint in the alto and tenor voices between measures 45 and 50. The development section does not modulate from the tonic key.There is a restatement of the fugue subject in the tonic in the bass voice in measure 63. This piece ends with a Perfect Authentic Cadence in the tonic key....

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