Page:Fugue by Ebenezer Prout.djvu/102

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84

Fugue.

[Chap. VI.

190. Another case in which a codetta is needed before the answer enters, is when the subject begins on an unaccented note near the end of a bar, and ends on an accented note at the beginning of a bar.

J. S. Bach. Wohltemperirtes Clavier, Fugue 36.

$\new Staff { \override Score.Rest #'style = #'classical \key f \minor \time 2/4 \partial 8 \relative c'' << { \[ c8^"S" | f, f f des'16 bes | e,8 e e16 f g aes | bes aes g aes bes des c bes | aes[ \] g^\markup \tiny \italic "Codetta." f g] aes bes c d | ees d c d ees g f ees } \\ { r8 R2*3 | r4 r8 f,_"A" | c c c aes'16 f } >> }$

&c.

191. A codetta is also sometimes introduced before the answer to avoid the collision of tonic and dominant harmony.

J. S. Bach. Wohltemperirtes Clavier, Fugue 7.

$\new Staff { \key ees \major %correcting obvious error \time 4/4 \mark \markup \tiny { (\italic"a") } \relative b' { \[ bes16^"S" g f g ees aes g aes c8 bes r a16 f | ees'8 d c4\trill bes16[ \] f' d bes] aes! f' d aes | << { g8 aes' g f ees16 c d ees f4 ~ } \\ { ees,16 d c d bes ees d ees g8 f r d16 bes } >> } }$

&c.

Here the implied harmony of the first half of the second bar is clearly that of a full cadence in the dominant. If we introduce the answer on the last note of the subject

$\new Staff { \key ees \major \time 4/4 \mark \markup \tiny { (\italic"b") } \relative b' { bes16 g f g ees aes g aes c8 bes r a16 f | << { ees'8 d c4\trill bes8 aes' g f } \\ { r2 ees,16 d c d bes ees d ees } >> } }$

&c.

the effect, as everyone will feel, is simply atrocious.

192. We much more frequently find a codetta between the answer and the second entry of the subject. The reason in many cases is the same as that spoken of in our last paragraph—to avoid the collision of tonic and dominant harmony. If the subject begins and ends with a note of the tonic chord, such a codetta will mostly be desirable.

J. S. Bach. Wohltemperirtes Clavier, Fugue 8.

$\new Staff { \key dis \minor \time 4/4 \mergeDifferentlyHeadedOn \mergeDifferentlyDottedOn \relative a' << { R1 R1 | r2 ais4^"A" dis ~ | dis8 fis eis dis cis dis eis4 | ais, dis4. cis8 bis4 | ais8 } \\ { \[ dis,4_"S" ais'4. b8 ais gis | fis gis ais4 dis, gis ~ | gis8 fis eis4 dis4. \] eis8 | fis4 gis ais4. gis8 | fis eis fis eis16 dis eis8 ais4 gisis8 | ais4. } >> }$

The student will see at once that if the third voice enters here on the last note of the answer, there will be the same unpleasant effect as in example (b) of our last paragraph. Bach therefore inserts two bars of codetta before the entry of the next voice.

193. If the subject begins with the tonic and ends on the third or fifth of the tonic, a codetta is generally necessary, as the