The fuguing tune (often spelled fuging tune) is a variety of Anglo-American vernacular choral music. Fuguing tunes form a significant number of the songs found in the American Sacred Harp singing tradition. They first flourished in the mid-18th century and continue to be composed today.
Description
thumb|upright=1.5|Transcription of "Northfield" by Jeremiah Ingalls.
Fuguing tunes are sacred music, specifically, Protestant hymns. They are written for a four-part chorus singing a cappella. George Pullen Jackson has described the fuguing tune as follows:
thumb|upright=1.5|Audio of "Northfield" by Jeremiah Ingalls.
A well-known fuguing tune that is typical of the form is "Northfield", composed in 1804 by Jeremiah Ingalls. The text is by Isaac Watts.
Variety in fuguing tunes
George Pullen Jackson's description above gives a common form for a fuguing tune, but there are variations. Jackson describes the entrance order of the four parts as "bottom to top" (Bass-Tenor-Alto-Treble), but this is not the only possible order. Indeed, in the fuguing tunes printed in The Sacred Harp, 1991 edition, it is not even the most common one; the most common order is Bass-Tenor-Treble-Alto. There are many other orders possible, particularly if one includes the many cases in which composers bring in two parts at once (so that there are just three instead of four entrances). However, it does seem to be a widely valid rule that the basses must at least be included in the first group to enter. This may reflect a wish to support the entrances with a solid bass line, or perhaps just a practical consideration: thanks to the weight of existing tradition, the bass singers have considerable practice in coming in alone at the beginning of a musical phrase, practice which the other sections lack. Thus a fuguing tune with a bass-first structure is likely to be more stable in performance.
History
The fuguing tune arose in England in the middle of the 18th century. The first fuguing tunes were the work of itinerant singing masters, described by Irving Lowens as follows:
<blockquote>[The singing masters were] often ill-trained by orthodox standards ... [They] wandered from village to village and eked out an existence by teaching the intricacies of psalm-singing and the rudiments of music to all who cared to learn. To supplement his generally meager income, [the singing master] frequently sold self-compiled tune-books in which psalm tunes of his own composition ... were featured as examples of his skill and artistry.</blockquote>
According to Lowens, the fuguing tunes created by these singing masters at first involved a separate fuguing section appended to the end of a complete psalm tune. Later, the fuguing became more integrated and eventually evolved to be the longer part of the song.
The fuguing tune shared the fate of the endogenous American tradition of hymnody in general; it was gradually replaced by European-based music as a result of the "Better Music Movement"; for discussion see Lowell Mason. An early sign of the decline was that fuguing tunes were outlawed in public worship by the Methodist Episcopal Church in 1792. Fuguing tunes survived in the rural South (see Sacred Harp) and starting in the mid-20th century achieved more widespread circulation as hobbyist singers in the United States and overseas adopted the Sacred Harp and similar traditions.
Fuguing tunes and fugues
The similarity of the terms "fugue" and "fuguing tune" means that the two forms are easily confused. A fuguing tune certainly is not some kind of failed attempt to write a fugue, as an ill-informed musicologist once asserted. This is plain from the different structures of the two genres: in a fugue, the voices take turns coming in at the very beginning of the piece, whereas in a fuguing tune that moment comes about a third of the way through. Moreover, in a fugue the musical material used at each entrance (the so-called "subject") is repeated many times throughout the piece, whereas in a fuguing tune it normally appears just in the one location of sequenced entries, and the rest of the work is somewhat more homophonic in texture.
Indeed, "fuguing" does not derive from "fugue". Rather, as Irving Lowens points out, both terms hark back to a still earlier, more general usage (ultimately from Latin fugere "to flee"). He cites the words of Thomas Morley, who wrote (in 1597 in his Plaine and Easie Introduction to Practicall Musicke), "We call that a Fuge, when one part beginneth and the other singeth the same, for some number of Notes (which the first did sing)." In modern musical terminology, this is called a "canon", though Lowens interprets the passage more loosely, explaining that "fuging is pretty well synonymous with what we today call the technique of imitative writing".
See also
- Metrical psalter
- West gallery music
- Yankee tunesmiths