Chapter 12, Fundamental Forms: III. Fugal Form and Chapter 13, Fundamental Forms; IV. Sonata Form, and Chapter 14, Fundamental Forms; V. Free Forms Summary and Analysis

III. Fugal Form: Fugue, Concerto Grosso; Chorale Prelude; Motets and Madrigals

As Copland stated in the first chapter, nothing can take the place of listening to music continuously, intelligently, and repetitiously. This concept relates most to fugal forms. If one wishes to understand fugal forms, the compositions must be listened to over and over again.

Because all fugues are polyphonic or contrapuntal, it is important to embrace the authors' advice regarding listening to music polyphonically. Copland believes that it is not a great feat for a listener to hear and understand multiple melodies at one time. It simply takes practice.

Fugal forms are...