Dix petites fugues modales


- II - Olivier Miquel


2021

     
        
Andante moderato
            
            
3 3 3 3
3 3
3 3

        3
     
    
3
détaché 3


 3          
3 3 3


3 3

  
sur un mode irrégulier

 
3

   
3 3

   
   
               

3

 
4 3 3 3 3 3

 
                 


       5  
3 3 3
3

                 
3

   
3

 
6 3
3 3

                       
3 5


3


3

3 3

 3
3 3

     
                
8 3 3 3 3


3

 
   
3

                      
3 3

  
3

 
3

    
3 3


 
 3 
3 3

                         
6

   
10 3

   
    
         
                      
3
3

 


 
3 3 3

    
3 3
3

               
    
13


3
3

 
     
               
3 3

      
3 3 3 3 

                                   
Avec fluidité

 
          
      


sur un mode irrégulier

    
 
                        
    
5

       
            
            



            
                        
10

   
   
                     
 


           

                                 
         

15

             
           
        


             
                                   
20

   
       
        
      
       



   Lent
          

            
         
        
      
26


    
          
       

2

     
    
Animé


                 
            
             


 

sur le mode pentatonique

    
   
6


   
 
                                    


    

  
                       
9

  
   
       
     
    
  
  



        
       
    
              
      
      
13

             
     
       




  

 
                     
               
16

   
          



        
    
                                

19

    
                   
       


       
                 
23

    

          
      


      

3

  
          
Allegro

   
    
                       
     
()


             
sur les modes mineurs

            
    
     
4

  

                 
 
        
        



        

                                    
7

   
              
         
      



          

     
                
10

                                     
        



                 
      
      
     
13


               
            
 




                 
  
      
    

        
16

 


                



                   
                        
19


               
                 

4

        
                    
          
22

 
   
  
                           


           
                                    

25

          
                  
 


   
  
                             
28

    
            
       


                   
                             
31

   
   

            
               


  
  
          
               
      
34


   

                          




                    
en retenant peu à peu


             
37

  
   
      
  


5

     
                      
Presto

  

                      
  


sur un sujet rétrogradable

                          
10

    
  
                 




                               
18

       
                      




La seconde partie est l'exacte

  
                            
rétrogradation de la première
26

 
   
           


                      
     
33

 
                
     


   retenu  
                             
 
41

   
    
  
            
    

6

                                        
Tranquille


 
              


sur le mode éolien

       
                  
        
8

  
  



     
       

          
     
 


                         
                       
      
15

 

                   
        
 



 
                   
                            
22

 
 
                 
      
 


      
                                         
28

 

                   
        


 
         
                      
rit.

 
34


  
                             

7

                  
Lent

     
          
            
           
 



sur un sujet dodécaphonique

                 
                        
9

    
  
               
    


                  
              

                    
15

 
        
                  
   


     
                        
        
22

   
             
  


                
        
           
     
  
28

 
          
                   


                               
             
        
33

   
 
              


          
                                       
    
                 
38

     
          
 

8


                   
Grave

                           
 
sur un sujet à deux voix



                                 
3

 
    
               
      

      
     



  
                                         
5

                    
 


                
                           
7


                   
          



     
     
9

  
          
          

9


            
                   
      
      
3
Modéré
        
      3 
   
3


3 3

  3
3


sur l'alternance majeur-mineur

                                    
6 3
3

         
 
    
3

                 3
        
   
3


    3
                    
3

         
3

                  
11 3

 

         
          
3


3
3


         3
                  
16 3

      
3

  
                           
  
 


   3 
                     
                                
3

    
21 3 3

 
           
        
     
 
3

  
3


      
3

    
3

                      
  
3

        
26 3 ritenuto

 
3

 
 
                
   

10


                                   
Allant

    
                    
 


sur la gamme par tons

                      
                             
4

                     
        
  


        
               
    
  
         
7

  
                        



                     
          
10


  
                                
  
    


                    
                   
13

        
                     
           


   
  
    
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16

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11