The article deals with the wide spectrum of the fugue forms in the quartets by S. Tsintsadze. The author studies their musical-content, dramaturgical and compositional side, the expression of the specifics of the components of the fugue forms (subject, answer, countersubject, intermedia, stretta) and the methods of their processual development. The role of the dramaturgical and compositional sides of the fugue forms, interconnection of the fugue and non fugue polyphonic texture and means have been studied in separate parts and in the whole cycle showing the examples of the "Great Polyphonic Form". The author also discusses the specifics of the hybrid – as pure polyphonic (fugue-fugato) and homophonic-polyphonic (fugue-sonata, fugue-rondo-sonata) forms.