Crossword Solver > found answer > QUADRUPLEFUGUE (quadruple fugue)

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quadruplefugue

quadruple fugue

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The answer QUADRUPLEFUGUE (quadruple fugue) has 0 possible clue(s) in existing crosswords.

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The word QUADRUPLEFUGUE (quadruple fugue) is NOT valid in any word game. (Sorry, you cannot play QUADRUPLEFUGUE (quadruple fugue) in Scrabble, Words With Friends etc)

There are 14 letters in QUADRUPLEFUGUE ( A¹D²E¹F⁴G²L¹P³Q¹⁰R¹U¹ )

To search all scrabble anagrams of QUADRUPLEFUGUE, to go: QUADRUPLEFUGUE?

Rearrange the letters in QUADRUPLEFUGUE and see some winning combinations

9 letters out of QUADRUPLEFUGUE

PREFEUDAL QUADRUPLE

8 letters out of QUADRUPLEFUGUE

PEDALFER

7 letters out of QUADRUPLEFUGUE

5 letters out of QUADRUPLEFUGUE

4 letters out of QUADRUPLEFUGUE

3 letters out of QUADRUPLEFUGUE

AGE ALE ALP APE ARE ARF DAG DAL DAP DEE DEF DEL DUE DUG DUP EAR EAU EEL ELD ELF ERA ERE ERG FAD FAG FAR FED FEE FER FEU FLU FUD FUG FUR GAD GAE GAL GAP GAR GED GEE GEL GUL LAD LAG LAP LAR LEA LED LEE LEG LEU LUG PAD PAL PAR PEA PED PEE PEG PER PUD PUG PUL PUR QUA RAD RAG RAP RED REE REF REG REP RUE RUG ULU URD URP

2 letters out of QUADRUPLEFUGUE

AD AE AG AL AR DE ED EF EL ER FA FE LA PA PE RE UP

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Quadruple fugue might refer to
In music, a Fugue ( fewg) is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition. It is not to be confused with a fuguing tune, which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development and a final entry that contains the return of the subject in the fugue's tonic key. Some fugues have a recapitulation.In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint.Most fugues open with a short main theme, the subject, which then sounds successively in each voice (after the first voice is finished stating the subject, a second voice repeats the subject at a different pitch, and other voices repeat in the same way); when each voice has entered, the exposition is complete. This is often followed by a connecting passage, or episode, developed from previously heard material; further "entries" of the subject then are heard in related keys. Episodes (if applicable) and entries are usually alternated until the "final entry" of the subject, by which point the music has returned to the opening key, or tonic, which is often followed by closing material, the coda. In this sense, a fugue is a style of composition, rather than a fixed structure. * The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias. The famous fugue composer Johann Sebastian Bach (1685–1750) shaped his own works after those of Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c. 1637–1707) and others. With the decline of sophisticated styles at the end of the baroque period, the fugue's central role waned, eventually giving way as sonata form and the symphony orchestra rose to a dominant position. Nevertheless, composers continued to write and study fugues for various purposes; they appear in the works of Wolfgang Amadeus Mozart (1756–1791) and Ludwig van Beethoven (1770–1827), as well as modern composers such as Dmitri Shostakovich (1906–1975).

Quadruple fugue might refer to

In music, a Fugue ( fewg) is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition. It is not to be confused with a fuguing tune, which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development and a final entry that contains the return of the subject in the fugue's tonic key. Some fugues have a recapitulation.In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint.Most fugues open with a short main theme, the subject, which then sounds successively in each voice (after the first voice is finished stating the subject, a second voice repeats the subject at a different pitch, and other voices repeat in the same way); when each voice has entered, the exposition is complete. This is often followed by a connecting passage, or episode, developed from previously heard material; further "entries" of the subject then are heard in related keys. Episodes (if applicable) and entries are usually alternated until the "final entry" of the subject, by which point the music has returned to the opening key, or tonic, which is often followed by closing material, the coda. In this sense, a fugue is a style of composition, rather than a fixed structure.
* The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias. The famous fugue composer Johann Sebastian Bach (1685–1750) shaped his own works after those of Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c. 1637–1707) and others. With the decline of sophisticated styles at the end of the baroque period, the fugue's central role waned, eventually giving way as sonata form and the symphony orchestra rose to a dominant position. Nevertheless, composers continued to write and study fugues for various purposes; they appear in the works of Wolfgang Amadeus Mozart (1756–1791) and Ludwig van Beethoven (1770–1827), as well as modern composers such as Dmitri Shostakovich (1906–1975).

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