Page:Fugue by Ebenezer Prout.djvu/112

This page has been proofread, but needs to be validated.

94

Fugue.

[Chap. VII.

218. It is for the same reason that we mostly find the episodes of a fugue formed, either wholly or in part, from material already met with, either in the subject, countersubject, or codetta. We give examples of each. In the sixteenth fugue of the 'Wohltemperirtes Clavier,' the following is the subject.

$\relative d' { \clef bass \key g \minor \time 4/4 r8 d ees g, fis4 g | r8 \[ a16 bes c8 bes16 a bes4 \] }$

The fugue contains two episodes, both founded on the second bar of this subject.

J. S. Bach. Wohltemperirtes Clavier, Fugue 16.

$\new ChoirStaff << \new Staff = "up" { \key g \minor \time 4/4 \new Voice \relative e' { \stemUp e8 d g4 ^~ g16 fis g a bes4 ^~ | bes a ^~ a16 d, e fis g4 ^~ | g8 fis16 g a8 g16 f g4. c8 | f, g16 a bes2 a4 | bes } } \new Staff = "down" { \key g \minor \clef bass << \new Voice \relative f { \stemUp f8 g16 a bes8 a16 g a8 bes16 c d8 c16 bes | \change Staff = "up" \stemDown c2. bes8 ees! | \change Staff = "down" \stemUp a,16 bes a bes c8 bes16 a bes8 \change Staff = "up" \stemDown c16 d ees4 _~ | ees d c2 | d4 } \new Voice \relative d { \stemDown d1 | e8 a16 g fis8 g16 a bes,8 c16 d ees8 d16 c | d2 g,4. a8 | bes f' g d ees d16 ees f8 f, | bes4 } >> } >>$

In this episode the figure marked with a | | is seen in the different voices in turn, by direct, and once by inverse movement. In the last bar, where a modulation is made to the relative major, the imitation is merely rhythmic.

219. The second episode is rather more elaborate.

$\new ChoirStaff << \override Score.TimeSignature #'stencil = ##f \new Staff = "up" { \key g \minor \time 4/4 \partial 2 << \new Voice \relative g'' { \stemUp g8 r r16 d c bes | a4 ^~ a16 bes c d g,4 ^~ g16 bes aes g | f4 ^~ f16 g aes bes ees,4 ^~ ees16 g f ees | d4 ^~ d16 d e fis g4 ^~ g16 bes a g | fis8 s } \new Voice \relative b' { \stemDown bes16 d, e fis g4 _~ | g16 g f ees d4 _~ d16 bes c d ees4 _~ | ees16 ees d c bes4 _~ bes16 g a b c4 _~ | c16 \stemUp \change Staff = "down" c bes a g4 ^~ g16 g a bes \stemDown \change Staff = "up" c8 cis | d4 } >> } \new Staff = "down" { \key g \minor \clef bass \new Voice \relative g, { \stemDown g8 g'16 a bes8 a16 g | d'8 d,16 ees f8 ees16 d ees,8 ees'16 f g8 f16 ees | bes'8 bes,16 c bes8 c16 bes c,8 c'16 d ees8 d16 c | g'8 g,16 a bes8 a16 g ees'2 | d4 } } >>$

Here the bass treats the last part of the subject sequentially, while the figure of counterpoint propounded by the alto is