Chap. VI.]
Fugue.
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last note of the answer will be the third or fifth of the dominant, against both of which the tonic is a dissonance.
J. S. Bach. Wohltemperirtes Clavier, Fugue 22.
![\new Staff \relative b' { \key bes \minor \time 2/2 \mark \markup \tiny { (\italic"a") } \override Score.Rest #'style = #'classical <<
{ \[ bes2^"S" f | r4 ges' f ees | des \] c des ees |
f e8 f g2 ~ | g4 } \\
{ R1 R1 | f,2_"A" bes, | r4 des' c bes | aes } >> }](http://upload.wikimedia.org/score/e/m/em3yt4hxwc1abygzoxq75lzzzn9f0fh/em3yt4hx.png)
J. S. Bach. Wohltemperirtes Clavier, Fugue 17.
![\new ChoirStaff << \override Score.Rest #'style = #'classical
\new Staff \relative a { \key aes \major \time 4/4 \mark \markup \tiny { (\italic"b") }
\[ r4^"S" aes8 ees' c aes f' des |
ees4 ~ \] ees16 des c des ees f g ees aes bes c bes |
aes g f aes g2 }
\new Staff \relative e { \clef bass \key aes \major
R1 | r4 \[ ees8^"A" aes g ees c' aes | bes[ \] ees, bes' g] s4 } >>](http://upload.wikimedia.org/score/3/k/3kj0a83g1h6v893qu337hqh2cj9ow4m/3kj0a83g.png)
In both these examples the answer ends with the tonic chord of the dominant key and of this chord the original tonic forms no part.
194. We will now write an exposition of a fugue in three parts, taking a very simple and straightforward subject, and adding a regular countersubject.
![\new ChoirStaff << \override Score.Rest #'style = #'classical \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
\new Staff \relative d' { \key d \major \time 4/4 \numericTimeSignature
\[ d4^"S" g fis r8 b16 a |
g8 fis e4 d8[ \] d16^\markup \tiny \italic "Codetta." e] fis8 gis
\[ a8^"CS" cis4 b a16 gis a8 cis_\markup \tiny "(a)" |
fis,16 gis a4 gis8 a[ \] b16 a] g8 a16 g |
fis g a b cis d e8 a,4. d8 ~ | d a g4 fis8 r r4 |
\[ a^"A" d cis r8 fis16 e | d8 cis b4 a8 \] }
\new Staff \relative a { \clef alto \key d \major \numericTimeSignature
R1 R1 \[ a4^"A" d cis r8 fis16 e |
d8 cis b4 a8[ \] a b cis] |
\[ d8^"CS" fis4 e d16 cis d8 fis |
b,16 cis d4 cis8 d[ \] fis16^\markup \tiny "(b)" e] d8 e16 d |
cis8 e fis16 e fis gis a8 e g4 ~ |
g8 e ~ e16 fis e d cis8 }
\new Staff \relative d { \clef bass \key d \major \numericTimeSignature
R1*4 \[ d4^"S" g fis r8 b16 a |
g8 fis e4 d8[ \] d16 e] fis8 gis |
\[ a8^"CS" cis4 b a16 gis a8 cis^\markup \tiny "(c)" |
fis,16 gis a4 gis8 a \] } >>](http://upload.wikimedia.org/score/0/u/0uwus66a025co1rd3hkdka5s8kp8lr8/0uwus66a.png)
We have begun with the upper voice, to let all the parts enter in regular descending order. Notice first how, by means of
