Page:Fugue by Ebenezer Prout.djvu/43

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Chap. III.]

Fugue.

25

Clementi. 'Gradus ad Parnassum,' No. 25.

$\new ChoirStaff << \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \new Staff \relative b' { \key b \minor \time 4/4 \mark \markup \tiny { ( \italic b ) } b2^\markup \bold "S" cis | d r8 b cis d | e cis d e fis e d cis | d \[ b_\markup \tiny \italic Codetta. gis' a b eis, fis g\] | a, gis' fis a, b fis' eis b | cis eis fis gis a4 cis | d, d' eis, cis' | e,4. b'8 s4_"&c." } \new Staff \relative f' { \key b \minor R1*4 fis2^\markup \bold "A" gis | a r8 fis gis a | b gis a b cis b a g | ais b cis2 } >>$

Further illustrations of this point will be met with when we come to tonal fugues. The following rule is fully justified by the practice of the great masters:—

Whenever a subject in a minor key ends on the third of the tonic, the answer may end on either the major or minor third of the dominant, as may be preferred.

70. If the subject be throughout in the key of the dominant, the answer will be in the key of the tonic—

J. S. Bach. Ouverture (Suite) in F.

$\new ChoirStaff << \new Staff \relative g'' { \key f \major \time 3/8 \partial 8 \mark \markup \tiny { ( \italic a ) } g8^\markup \bold "S" | g16 f g a g f | e d e f e f | g f g a g f | e8. d16 e f | e8 a e | f a f | e a e | f_"&c." } \new Staff \relative c'' { \key f \major r8 R4.*3 | r8 r c^\markup \bold "A" | c16 bes c d c bes | a g a bes a bes | c bes c d c bes |a8 } >>$

Handel. 'Samson.

$\new ChoirStaff << \override Score.Rest #'style = #'classical \new Staff \relative f' { \clef alto \key bes \major \time 4/4 \partial 4 \mark \markup \tiny { ( \italic b ) } r4 R1*2 r2 r4 f^\markup \bold "A" | d g c, f | bes ees2 d4 | c4. c8 bes2 } \new Staff \relative c' { \clef tenor \key bes \major c4^\markup \bold "S" | a d g, c | f, bes2 a4 | g4. g8 f2 | r8 bes bes bes bes a16 g a8 f | g a16 bes c bes c g a8 f bes4 ~ | bes8 a bes c d c d ees^"&c." } >>$

It is important to notice that the answer is now a fourth above, or a fifth below, instead of being (as in previous cases) a fifth above, or a fourth below, the subject.