Do you ever notice how a fugue is almost a chess game, each theme a pawn moving across the staff, waiting for a counter‑move? I’ve been mapping out the structure of some Baroque pieces the way I plan a long‑range strategy. What’s your take on that?

Sounds like a chess opening read for a quiet mind. You keep listening, waiting for the next move. If you want to dig deeper into the structure, let me know.

I notice the first voice starts with a simple motif, like a king moving one step forward. Then the second voice echoes it a beat later, but with a small twist—almost a knight’s jump. It’s as if the composer is setting up a perpetual check, forcing the listener to anticipate. The third voice, much later, enters with a whole-tone colour, almost like a bishop sliding across the board. It ties the earlier motives together, creating a resolution that feels inevitable yet still surprising. Every pause is a tempo change, a quiet recalculation before the next move.